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A CELADON JADE 'ARCHAISTIC' VASE, FANG GU, QIANLONG MARK AND PERIODChina, 1736-1795. Of square section, supported on a thick foot, tapering toward the bulbous mid-section and flaring to the everted rim. The vase is undecorated, leaving the viewer only with the mesmerizing appearance of the translucent jade of celadon tone with gray shadings as well as striated bands of fine black and white specks. The rim with a neatly incised and gilt six-character horizontal mark da Qing Qianlong nianzhi and of the period.Provenance: Spink & Son, London, December 1981, no. 62 (according to Spink catalog and matching label to base). The Plesch Collection, no. Hu27 (label to base), acquired from the above. A copy from page 19 of the Spink catalog from 1981, listing the present lot as no. 62, “A gu of plain flared form. A grey tone with striations and markings. The rim with an incised Qianlong six character mark and of the period (1736-1795). Height 27.5 cms.”, accompanies this lot. Peter and Traudi Plesch were both refugees from Nazi persecution. Peter had left Germany with his father, who was the medical doctor of Albert Einstein, who once gently commented on the practical difficulties of young Peter's ingenious design for a perpetual motion machine. Peter Plesch had already formed a fine collection when he met Traudi. One influence had been his maternal great uncle, Fritz von Gans, who had left his antiquities collection to the Royal Prussian Museum, Berlin. However, on their honeymoon in Israel, Traudi fell for the lure of ancient Chinese glass which inspired a new joint adventure, the one criterion for a purchase being that she and Peter should both want the object, although not necessarily with the same passion. Thus their collection was formed slowly and wisely over four decades, later expanding into jades and ancient bronzes, reflecting their desire to have beautiful, but also academically meaningful pieces.Condition: Very good condition with minor wear, the foot with one corner smoothened. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, manually applied polish with an unctuous feel overall.Weight: 2,367 gDimensions: Height 27.5 cmExpert's note: The Qianlong Emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The present lot belongs to an important group of such objects, all carved from 'impure' jade with prominent fissures and inclusions, erroneously believed by some to be anathema to the Emperor. On the contrary, jades carved from this specific material were one of his greatest passions. During the 44th year of the Qianlong reign (1779), the Suzhou Manufactory was ordered to create a jade vase from a piece of shanliao (nephrite) raw jade. Because of cracks in the jade, the intended size was not possible, and the manufactory sought further instruction from the Emperor. Qianlong responded that if by reducing the size of the finished vase the cracks could be avoided, that would be a good solution, but if even then the cracks could not be avoided, then it would be better to maintain the intended size, as such cracks were a natural characteristic of jade after all. In fact, the Qianlong Emperor believed that defects such as spots and cracks added to the archaic feeling of a jade vessel.This aesthetic use of material defects can also be seen in other archaistic jade objects created during the Qianlong reign (see Auction result comparison), indicating that the Emperor considered the craft and decorative program of a jade object more important than the quality of the raw material. Although Qianlong had always had a love of the past, he only promoted the production of archaistic jades in society at large during the middle and late periods of his reign, due to the appearance of certain new kinds of jade that he detested. In the 39th year of his reign (1774), Qianlong criticized the “wretched new forms of jade” in his writing, and later proceeded to lodge repeated criticisms against other new-fangled forms that he considered unacceptably vulgar for being overwrought, excessively ornate, or slavish towards raw materiality. He regarded the popularity of such forms as a “catastrophe for jade”. Whether these forms strike us today as indeed catastrophic or rather innovative, it is clear that the Emperor found them unbearable.Auction result comparison: For an Imperial greenish-white jade archaistic hu-form vase, with a Qianlong fanggu mark and of the period, see Christie's Hong Kong, 28 May 2014, lot 3370, sold for HKD 2,920,000. Compare a closely related jade vase, of hu form, also mostly undecorated, and carved from similarly 'impure' jade, with a Qianlong fanggu mark and of the period, at Bonhams London in Fine Chinese Art on 17 May 2018, lot 161, sold for GBP 31,250.乾隆款及年代素面青玉方觚 中國，1736-1795年。長方口，有直邊，長頸，凸腹，高圈足外撇，下有直立裙邊。表面沒有修飾，只有青玉本身的天然色域，青灰黑白不一。口沿處鎏金刻六字款“大清乾隆年製”。 來源：倫敦Spink & Son藝廊，1981年12月，no. 62 (根據 Spink 目錄和底部標籤)。Plesch 收藏，no. Hu27 (底部標籤), 購於上述藝廊。隨附一份Spink 藝廊1981年目錄第十九頁，可見此拍品編號為62號。Peter 與Traudi Plesch 兩人都是遭受納粹迫害的難民。Peter與他的父親一起離開了德國，他的父親是阿爾伯特·愛因斯坦的醫生，愛因斯坦曾經溫和地和年輕的Peter討論如何設計永動機的實際困難。 Peter Plesch 在遇到 Traudi 時已經擁有了一個很好的收藏。他的外叔祖弗里茨·馮·甘斯 (Fritz von Gans)曾給Peter極大的影響，他將自己的文物收藏留給了柏林皇家普魯士博物館。 然而，在以色列度蜜月時，Traudi 被中國古代琉璃的魅力所吸引，因此激發了一次新收藏冒險。他們購買藏品的一個標準是她和彼得必須都想要這件物品，但並不一定要有相同的熱情。因此，他們的藏品在四十年來被緩慢卻明智地構建著，後來擴展到玉器和古代青銅器，這反映了他們願意擁有美麗但同時也具有學術意義的藏品。 品相：狀況極好，有輕微磨損，一角底足很光滑。玉料有天然紋理裂紋，隨著時間的推移，其中一些可能會發展成細小的裂縫。 整體光澤細膩潤澤。 重量：2,367 克 尺寸：高27.5 厘米

A MAGNIFICENT WHITE JADE 'SPRING WATER' PLAQUE, JIN TO YUAN DYNASTYChina, 1115-1368. Of oval form, intricately carved in openwork and in layered relief to depict a goose in flight amidst long stems of lotus that rise from the rippling waves below, with blossoms and furled leaves, its long neck arched and beak clutching a leaf, all within a plain, rounded border. The translucent stone is of an even white tone with cloudy inclusions and very few dark speckles.Provenance: Marchant Ltd., London. An English private collection, by repute acquired from the above circa 1997, according to the family of the collector.Condition: Superb condition with minor old wear and few minuscule nicks here and there. Manually applied polish with a smooth, unctuous feel overall. Natural inclusions and fissures, inherent to the material.Weight: 58.6 gDimensions: Length 8.4 cmThe motif of the present plaque originated from the annual 'Spring Water' goose hunt conducted by the Khitan in the Liao dynasty and the Jurchen in the Jin dynasty.Literature comparison: Compare a closely related plaque illustrated by Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p. 46, no. 43 (also sold at Christie's Hong Kong on 28 November 2006, see Auction result comparison below). Compare a related plaque pierced with a flying goose and lotus, illustrated by Marchant, 85th Anniversary Exhibition of Chinese Jades from Tang to Qing, p. 51, no. 29, dated Yuan to early Ming. Compare also two related plaques dated to the Yuan dynasty, one illustrated by James C. Y. Watt, Chinese Jades from the Collection of the Seattle Art Museum, Seattle, 1989, no. 40, and another in the British Museum, illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p. 335, fig. 1.Auction result comparison: Compare a closely related white jade plaque with a similar depiction at Christie's Hong Kong, in Important Chinese Jades from the Personal Collection of Alan and Simone Hartman, 28 November 2006, lot 1445, sold for HKD 336,000. 金至元代“春水玉“白玉牌中國，1115-1368年。橢圓形玉牌，精雕細琢，鏤空分層浮雕大雁穿枝，四周纏枝蓮花。大雁長頸拱起，喙抓著一片葉子。 半透明的玉石呈均勻的白色，帶有絮狀物，少量黑斑。 來源：倫敦Marchant Ltd. 藝廊。英國私人收藏，據藏家家族描述説約在1997年購於上述藝廊。 品相：狀況極佳，有輕微舊時磨損和一些微小的劃痕。手工拋光，整體光滑油潤。玉料固有的天然内沁和裂縫。 重量：58.6 克 尺寸：長 8.4 厘米 拍賣結果比較：比較一件相近白玉牌見香港佳士得Important Chinese Jades from the Personal Collection of Alan and Simone Hartman 2006年11月28日 lot 1445, 售價HKD 336,000。

A CELADON JADE FIGURE OF A BOY MOUNTED ON A GILT BRONZE STAND, QING DYNASTYChina, 1644-1912. The boy wearing loose-fitting robes and holding a vase in both hands, a single peony blossom borne on a leafy stem rising from the vessel, the child with a content smile playing across the face. The translucent stone of a celadon tone with icy veins and inclusions.Provenance: Collection of Alexander Foerster, thence by descent in the same family. Alexander Foerster was an Austrian art dealer and expert who worked as an appraiser of Asian art for the auction house Dorotheum during the 1960s. A copy of Alexander Foerster's collection inventory, dated July 1961 and listing the present lot as no. 83, accompanies this lot.Condition: Good condition with old wear, minor losses, small nicks, the stone with natural fissures, some of which have developed into hairline cracks over time. The interior of the stand with some verdigris.Weight: 421.8 gDimensions: Height 14 cmMounted on a gilt-bronze stand of French origin dating to the same period, the rocaille stand issuing two curved leafy vines framing the figure as well as reeds and millet.Auction result comparison: Compare a related white jade carving of a boy, 8.9 cm high, dated 18th century, at Sotheby's New York in Important Chinese Art on 21 March 2018, lot 654, sold for USD 18,750. 十六至十七世紀鎏金銅曼達拉娃佛母西藏。曼達拉娃佛母立於蓮座上，微微側身，一手握著嘎巴啦碗，另一隻手施安慰印。她穿著一件鑲有珠飾的長袍，戴著葉形耳環和鑲嵌著珊瑚的串珠項鍊。 來源：紐約佳士得，1999年3月23日 lot 130；一個英國私人收藏，購於上述拍賣。 品相：狀況極好，有一些磨損、小缺損、刻痕和凹痕、輕微劃痕。鑲嵌的珊瑚珠可能是後來的更換品。包漿整體細膩。重量: 392.4 克 尺寸：高 15.3 厘米 拍賣結果比較：比較一件相近的鎏金銅曼達娃拉佛母坐像，高12.6 厘米，十六世紀，見紐約佳士得Indian and Southeast Asian Art 2011年3月 22日 lot 293, 售價USD 37,500。

A LARGE BLUE AND WHITE 'PHOENIX AND PEONY' DISH, YU TANG (JADE HALL) MARK, TRANSITIONALChina, c. 1650-1660. The deep rounded sides rising from a thick, slightly tapered foot to a brown-enameled rim, the interior boldly painted with two phoenixes by a large craggy rock, which partly obscures one of the legendary birds, surrounded by gigantic peony blossoms, enclosed by a double line border. The recessed base bears an underglaze-blue four-character mark yu tang jia qi ('beautiful vessel for the Jade Hall') within a double circle.Provenance: R & G McPherson Antiques, London, 23 July 2008. A British private collection, acquired from the above. A copy of the original signed invoice, dated 23 July 2008 and confirming the dating above, accompanies the present lot.Condition: Very good condition with minor wear and some firing flaws, including kiln grit and dark spots. The central interior engraved with a mark, probably either for the family name Lu or the number six. Shallow surface scratches.Weight: 2,315 gDimensions: Diameter 35.2 cmAuction result comparison: Compare a related blue and white dish depicting immortals, also with a yu tang jia qi mark and dated circa 1650, at Christie's New York in An Era of Inspiration: 17th-Century Chinese Porcelains from the Collection of Julia and John Curtis on 16 March 2015, lot 3560, sold for USD 27,500. Compare a related blue and white dish depicting a qilin, also with a yu tang jia qi mark and dated to the Kangxi period, at Christie's London in The Royal House of Savoy on 15 October 2019, lot 16, sold for GBP 9,750.過渡時期“玉堂佳器”款大型青花鳳穿牡丹紋盤中國，約1650-1660年。敞口，深圓腹，圈足，邊沿醬色釉；盤中青花勾勒鳳穿牡丹紋，精美華麗；圈足内青花雙圈“玉堂佳器”款。 來源：倫敦R & G McPherson Antiques藝廊，2008年7月23日；英國私人收藏，購於上述藝廊。隨附一份原始發票副本確認上述購物時間。 品相：狀況極好，有輕微磨損和一些燒製瑕疵，包括窯砂和黑點。盤内中央刻了一個“陸“字。 重量：2,315 克 尺寸：直徑35.2 厘米 拍賣結果比較: 比較一件相近的青花仙人紋盤，同樣有”玉堂佳器“ 款，約1650年，見紐約佳士得An Era of Inspiration: 17th-Century Chinese Porcelains from the Collection of Julia and John Curtis 2015年3月16日 lot 3560, 售價USD 27,500；比較一件相近的青花”玉堂佳器“ 款麒麟紋盤，康熙時期，見倫敦佳士得The Royal House of Savoy 2019年10月15日 lot 16, 售價GBP 9,750。

A Chinese tripod bronze censer, impressed with pseudo xuande mark to the rim and with carved hardwood cover and stand, the cover with jade finial, 12.4cm diameter Condition Report: General wear to the surface Condition Report Disclaimer

An 18th/19thC. Chinese jade censer, one handle a/f, lacking lid

A Chinese high carat green jade ring size H

A PALE CELADON JADE 'PHOENIX' EWER, QING DYNASTYChina, 1644-1912. Crisply carved in shallow relief on both sides of the flattened body with wings of an archaistic phoenix, its head carved in high relief below the spout suspending a loose ring, a sinuously coiled chilong forming the handle, the foot rim with a key-fret band. The translucent stone of a pale celadon tone with few dark speckles.Provenance: Viennese private collection. By repute acquired from Galerie Zacke, ca. 1980-1990.Condition: Good condition with minor old wear and few minuscule nicks to edges, a small repair to the chilong's head, some natural fissures and inclusions. Weight: 302.8 g Dimensions: Height 9.3 cm Auction result comparison: Compare with a related ewer, with a cover, at Sotheby's London in Important Chinese Art on 8 November 2017, lot 33, sold for GBP 18,750. 清代青白玉啣環饕餮紋觥中國，1644-1912年。玉觥略呈長方形，寬流，圈足均陰線刻雲雷紋一周，器身頸部淺浮雕卷葉紋，下腹部淺浮雕饕餮紋。其一側鏤瑞獸為柄，獸頭向外，身呈直線型附於觥身一側。口沿正中下方雕一鳳頭，鳳頭下有活環。來源：奧地利私人老收藏，據説購於奧地利Zacke藝廊，約在1980-1990年間。 品相：狀況良好，有輕微的舊時磨損，邊緣有少量微小的刻痕，螭龍的頭部有小修飾，有一些天然裂縫和内沁。 重量: 302.8 克 尺寸：高 9.3 厘米 拍賣結果比較：比較一件相近的蓋罐，見倫敦蘇富比 Important Chinese Art 2017年11月8日 lot 33, 售價GBP 18,750。

A PALE CELADON JADE 'BIXIE', LATE MING DYNASTYChina, 16th to 17th century. The beast's ears flicked back, bulging eyes above a ruyi-shaped snout, the open mouth revealing teeth, the paws carved in detail, with a well articulated spine, horn and wings. Fine incision work to legs, tail, mane, eyebrows, and beard. The translucent stone of a pale celadon tone with russet veins, small areas of russet skin and cloudy white inclusions. Provenance: From a private collection, Massachusetts, USA.Condition: Excellent condition. The stone with minor nicks to edges, natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Fine, unctuous feel overall.Weight: 261.5 gDimensions: Length 8.5 cmWith a fitted hardwood stand, supported on four ruyi shaped feet, dating from the later Qing dynasty. (2)Auction result comparison: Compare a related pale celadon and russet jade figure of a mythical beast, dated to the 18th to 19th century, of slightly smaller size (8.3 cm), at Christie's London in Chinese Ceramics, Works of Art and Textiles Part II on 7 November 2014, lot 431, sold for GBP 27,500.明末青白玉雕瑞獸避邪擺件 中國，十六至十七世紀。瑞獸挺胸眉目突出，大口微張，頭頂有角，雙耳乖巧地下垂，背部一對翅膀，四肢矯健，後肢股部上有雙鉤深刻出的火焰狀紋。青玉帶沁，光滑柔潤。 來源：美國馬賽諸塞州私人收藏。 品相：狀況極佳。邊緣有輕微刻痕、天然內沁和紋理，其中一些可能隨著時間的推移發展成細小的裂縫。重量: 261.5 克 尺寸：長 8.5 厘米硬木底座，如意形四足，清末。 (2) 拍賣結果比較：比較一件相近的青白玉雕帶沁瑞獸，十八至十九世紀，尺寸稍小 (8.3 厘米), 見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles Part II 2014年11月7日 lot 431, 售價GBP 27,500。

A GREEN JADE 'CARP' VASE, QING DYNASTYChina, 18th - 19th century. Vividly carved as a carp leaping from crashing waves, depicted with a large gaping mouth open to form the cavity of the vase, the fins and scales finely detailed and incised, with an elegantly curled tail. The translucent stone of an even, dark green tone with pale green clouding and scattered veins.Provenance: From a private collection in Southern Florida, USA.Condition: Very good condition. The stone with natural fissures, some of which have developed into small hairline cracks over time. A minuscule chip to the back fin. Tiny nicks here and there. With a good, unctuous feel overall.Weight: 655 gDimensions: Height 15.24 cm, Width 10.1 cmAccording to traditional Chinese belief, carp swimming upstream in the Yellow River must leap the rapids of the Dragon's Gate. The first to succeed in doing this is transformed into a dragon. This legend is frequently used and regarded as a metaphor for a poor scholar who passes the civil service examinations and succeeds in high office. The dragon-carp motif is thus a wish for success in achieving this.Auction result comparison: Compare a related carp vase, dated to the Qing dynasty, 16 cm, at Sotheby's London in Fine Chinese Jades from the Thompson-Schwabb Collection on 9 November 2016, Lot 9, sold for GBP 15,000.清代玉雕鯉魚瓶中國，十八至十九世紀。雕刻生動的鯉魚從洶湧的海浪中躍出，大口張開形成瓶口，鰭和鱗片雕刻細緻，尾巴外翹。半透明的玉料，均勻的深綠色調，帶有淡綠色的絮狀物和分散的紋理。 來源：美國南弗羅里達私人收藏。品相：狀況極好，天然裂縫隨著時間的推移，其中一些已經發展成細小的細縫。後鰭有一個微小的磕損。很多小刻痕。 包漿整體感覺良好光潤。重量：655克 尺寸：高15.24 厘米，寬 10.1 厘米 拍賣結果比較: 比較一件相近的清代鯉魚瓶，16 厘米，見倫敦蘇富比Fine Chinese Jades from the Thompson-Schwabb Collection 2016年11月9日 Lot 9, 售價GBP 15,000。

A PALE CELADON JADE CARVING OF A BIRD, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Finely carved in the round as a bird standing on its two feet and tail, depicted with round eyes, a slightly hooked beak, and a crested crown. The wings and chest are detailed with characteristic double-line grooves. The bird's chest is pierced with two cord holes for suspension. The translucent stone is of a pale celadon tone with icy veins, cloudy white inclusions, black specks, and a small area of opaque calcification to one side.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884.Condition: Fine condition, commensurate with age. Few tiny nicks here and there, signs of weathering and ancient wear. The stone with natural fissures and some calcified areas. The carving shows a silky matte surface overall as a result of long-time burial.Weight: 27.4 gDimensions: Height 4.2 cmAuction result comparison: Compare a closely related celadon jade bird-shaped finial, with similar posture, eyes, beak, and decoration, and also dated to the Western Zhou Dynasty, at Christie's Hong Kong in Chinese Archaic Jades from the Yangdetang Collection Part II on 28 November 2018, lot 2734, sold for HKD 812,500.西周鳥形青白玉雕中國，公元前1100-771 年。圓雕立鳥，細節清晰，可見雙足和尾巴，圓眼，喙略呈鉤狀，頭上有冠。翅膀和胸部飾有獨特的陰陽線紋。鳥的胸部雙孔，可於懸掛。半透明玉料呈淡青色，有冰紋、絮狀物、黑色斑紋，一側有一小塊不透明的鈣化區域。 來源: David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相: 狀況良好，與年代相稱。局部有細小的刻痕，風化和磨損的跡象。天然裂紋和一些鈣化區域，表面啞光。 重量: 27.4 克 尺寸: 高4.2 厘米 拍賣結果比較: 比較一件十分相近的西周鳥形玉件，相似紋飾，見香港佳士得Chinese Archaic Jades from the Yangdetang Collection Part II 2018年11月28日 lot 2734, 售價HKD 812,500。

A CELADON JADE 'EIGHT HORSES OF MU WANG' BANGLE, QING DYNASTYChina, 18th-19th century. The exterior deftly carved in relief with the Eight Horses of Muwang in various postures, one lying on its back with its legs in the air, another licking one of its hooves, and a third in full gallop. The translucent stone of a celadon tone with shadings of olive, brown, and cream tone as well as icy inclusions and veins.Provenance: From a private collection in Kent, England, mostly acquired during the 1970s and 1980s.Condition: Excellent condition with minor wear and traces of use. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 79.6 gDimensions: Diameter 8.7 cmAuction result comparison: Compare a closely related pale celadon and russet jade bangle carved with three rams, also dated to the Qing dynasty, at Bonhams London in Asian Art on 10 May 2021, lot 247, sold for GBP 7,012. Compare a yellow and russet jade bangle carved with elephant heads, dated to the 18th century, at Sotheby's Hong Kong in Qing Dynasty Jade Carvings From A Hong Kong Collection on 31 May 2017, lot 72, sold for HKD 275,000. Compare a pale celadon and brown jade bangle carved with chilong and dated to the 18th century at Sotheby's Hong Kong in Chinese Art on 24 November 2014, lot 1294, sold for HKD 137,500.清代"穆王八駿"青玉鐲 中國，十八至十九世紀。玉鐲巧妙浮雕穆王八駿馬，姿態各異，仰臥，雙腿懸空，跺蹄，馳騁。 半透明青玉石，帶有淡綠、棕色和白色的陰影以及内沁和紋理。 來源：英國肯特郡私人收藏，購於1970至1980年間。 品相：狀況極佳，有輕微磨損和使用痕跡。 帶有天然紋理的石料，隨著時間的推移，其中一些可能會發展成細小的裂縫。 重量：79.6 克 尺寸：直徑8.7 厘米 拍賣結果比較：比較一件相近的清代青白玉帶皮"三羊開泰"玉鐲，見倫敦邦翰思Asian Art 2021年5月10日 lot 247, 售價GBP 7,012；比較一件十八世紀黃玉帶皮象首玉鐲，見香港蘇富比Qing Dynasty Jade Carvings From A Hong Kong Collection 2017年5月31日 lot 72, 售價HKD 275,000；比較一件十八世紀螭龍紋青白玉鐲，見香港蘇富比Chinese Art 2014年11月24日 lot 1294, 售價HKD 137,500。

A MUGHAL-STYLE CELADON JADE VASE AND COVER, QING DYNASTYChina, 19th century. The extremely thin baluster sides rising from a spreading foot with a domed base to a short waisted neck with a lipped rim, surmounted by a domed cover with a lotus bud finial. The sides are crisply carved in relief with lotus sprays between stiff leaves, the cover and finial additionally decorated with petals. The translucent stone is of a decent pale-celadon tone with cloudy white inclusions and few dark speckles.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy, acquired at Unica Fine Art Expo, Modena, Italy, in 2014. Galerie Zacke, Fine Chinese Art, Buddhism and Hinduism, 27 September 2019, lot 216. A private collector in Hungary, acquired from the above. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art and jades in particular. His book "Radiant Stones: Archaic Chinese Jade" from 2004 is considered a cornerstone publication in the field of ancient Chinese Jade.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which have developed into small hairline cracks over time. Fine, unctuous feel overall.Weight: 165.5 gDimensions: Height 17.7 cmAuction result comparison: Compare a related Mughal-style celadon jade vase and cover, dated 18th-19th century, at Sotheby's New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 778, sold for USD 50,000, and another of larger size (28 cm high) at Bonhams San Francisco in Fine Asian Art on 21 June 2011, lot 8088, sold for USD 14,640. 清代蒙兀兒風格青玉蓮紋蓋瓶 中國，十九世紀。直口，豐肩，斂腹，平面底，蓮花寳頂高圓蓋。瓶身清晰浮雕纏枝蓮紋，蓋子上施倒蓮紋。半透明的玉石呈淡青色，帶有白色絮狀物和很少的黑斑。 來源：義大利羅馬Filippo Salviati教授私人收藏，2014年購於義大利摩登那Unica Fine Art Expo藝博。見本藝廊 Fine Chinese Art, Buddhism and Hinduism 2019年9月27日lot 216. 匈牙利私人藏家購於上述拍賣。Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。 Salviati教授對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。他2014年出版的 "Radiant Stones: Archaic Chinese Jade" 被認爲是中國古代玉器領域的奠基出版物。 品相：狀況極佳，輕微磨損，少量天然裂縫，其中一些裂縫隨著時間的推移可能會發展成微小的裂縫。總體細膩潤澤。 重量：165.5 克 尺寸：高17.7 厘米 拍賣結果比較：比較一件相近蒙兀兒風格青玉蓋瓶，十八至十九世紀，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2011年3月23日lot 778, 售價USD 50,000；另一件尺寸更大 (高28 厘米) 見舊金山邦翰思Fine Asian Art 2011年 6月21日 lot 8088, 售價USD 14,640。

A CELADON JADE 'TURTLE' SEAL, 17TH CENTURYChina. The square seal surmounted by a turtle standing foursquare, its minuscule head almost entirely retreated into the large shell with neatly incised carapace, the tail trailing to the ground, the seal face left plain. The translucent stone of a celadon tone with russet veins, dark specks, and cloudy white inclusions.Provenance: Adrian M. Joseph, c. 2003. British private collection, acquired from the above. Adrian Malcolm Joseph started studying and collecting Chinese ceramics during the late 1950s. He published various important papers and books including Ming Porcelains: Their Origins and Development (1971) and Chinese and Annamese Ceramics found in the Philippines and Indonesia (1973). He and his wife Phyllis began collecting Japanese art in the late 1960s, initially acquiring ceramics from important dealers such as Shimojo in Tokyo. Joseph became a Director of Hugh Moss Ltd. in the 1970s.Condition: Very good condition with minor wear, minuscule nicks, natural weathering.Weight: 42.7 gDimensions: Size 2.8 x 2.8 x 2.6 cmAuction result comparison: Compare a related black and gray jade seal of a tortoise, 3 cm high, dated Ming dynasty or earlier, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV on 20 March 2015, lot 739, sold for USD 6,000 (part lot, together with a brown jade seal depicting a mythical beast). Compare a white jade seal depicting a bixi, 4 cm wide, dated to the late Ming dynasty, at Christie's Hong Kong in The Pavilion Sale on 6 October 2015, lot 47, sold for HKD 68,750.十七世紀青玉龜鈕印中國。方形印上雕刻龜形鈕，小小的腦袋幾乎完全縮進了龜殼裡，甲殼整齊切割，尾巴垂在地上。印面光滑，青色半透明玉石，帶有赤褐色的脈紋和白色絮狀物。 來源: Adrian M. Joseph, 約2003年；英國私人收藏，購於上述收藏；Adrian Malcolm Joseph 在 1950 年代後期開始研究和收集中國陶瓷。 他發表了多篇重要論文和著作，包括《Ming Porcelains: Their Origins and Development》（1971）和《Chinese and Annamese Ceramics found in the Philippines and Indonesia》（1973）。 他和他的妻子Phyllis在 1960 年代後期開始收集日本藝術品，最初是從東京的 Shimojo 等重要經銷商處購買陶瓷。 Joseph 在 1970 年代成為 Hugh Moss Ltd. 的董事。 品相: 狀況極好，輕微磨損，小劃痕，自然風化。 重量: 42.7 克 尺寸: 2.8 x 2.8 x 2.6 厘米 拍賣結果比較: 比較一件相近的明代或更早的灰白玉雕龜鈕印，高3 厘米 ，見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part IV 2015年3月20日 lot 739, 售價USD 6,000 (與另一件褐色瑞獸鈕玉印一起)；比較一件明末白玉雕瑞獸，寬 4 厘米，見香港佳士得The Pavilion Sale 2015年10月 6日 lot 47, 售價HKD 68,750。

A MINUSCULE WHITE AND BLACK JADE 'TURTLE' SEAL, MING DYNASTYChina, 1368-1644. The square seal surmounted by a turtle with neatly incised carapace, the seal face deeply carved with a two-character inscription. The translucent stone of a white and grayish-black tone.Inscriptions: To seal face, 'Xichen'.Provenance: Adrian M. Joseph, c. 2003. British private collection, acquired from the above. Adrian Malcolm Joseph started studying and collecting Chinese ceramics during the late 1950s. He published various important papers and books including Ming Porcelains: Their Origins and Development (1971) and Chinese and Annamese Ceramics found in the Philippines and Indonesia (1973). He and his wife Phyllis began collecting Japanese art in the late 1960s, initially acquiring ceramics from important dealers such as Shimojo in Tokyo. Joseph became a Director of Hugh Moss Ltd. in the 1970s.Condition: Excellent condition with minor old wear and few tiny nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 8.5 gDimensions: Size 1.9 x 1.9 x 1.3 cmAuction result comparison: Compare a related green and brown jade seal, 1.8 cm square, dated 17th-18th century, also carved with a turtle, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 September 2010, lot 1076, sold for USD 6,250. 明代黑白玉龜鈕印中國，1368-1644年。四方印，龜鈕，印面刻著二字。白色和灰黑色調的半透明玉料。 款識: 熹晨 來源: Adrian M. Joseph, 約2003年；英國私人收藏，購於上述收藏；Adrian Malcolm Joseph 在 1950 年代後期開始研究和收集中國陶瓷。他發表了多篇重要論文和著作，包括《Ming Porcelains: Their Origins and Development》（1971）和《Chinese and Annamese Ceramics found in the Philippines and Indonesia》（1973）。他和他的妻子Phyllis在 1960 年代後期開始收集日本藝術品，最初是從東京的 Shimojo 等重要經銷商處購買陶瓷。Joseph 在 1970 年代成為 Hugh Moss Ltd. 的董事。 品相: 狀況極佳，有輕微磨損，輕微細小的刻痕；有天然紋理的玉料，有些可能隨著時間的推移發展成細小的裂縫。重量: 8.5 克 尺寸: 1.9 x 1.9 x 1.3 厘米 拍賣結果比較: 比較一件相近的十七至十八世紀綠褐色玉印，長寬1.8 厘米 ，龜鈕，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2010年9月17日 lot 1076, 售價USD 6,250。

A FAHUA FIGURE OF LI TIEGUAI, LATE MING TO EARLY QINGChina, 16th-17th century. Standing on a molded and carved rockwork base, supporting himself on his iron cane, wearing a loose-fitting robe tied at the waist and open at the chest and large belly, his neatly incised hair secured by a band, the fine face with large eyes and scrolling beard and brows, flanked by long pendulous earlobes.Provenance: Compagnie de la Chine et des Indes, Paris, inventory number 20582, acquired 1968 in Hong Kong. The Compagnie de la Chine et des Indes (China and India Company) in Paris was founded in the early 20th century by the Blazy brothers, acquired in 1935 by Robert Rousset and later run by his grandnephews Mike Winter-Rousset and Herve du Peuty. With his sister Suzanne in charge of the porcelain, Robert Rousset developed the business, and the company became one of the most important dealers for Asian art in France, selling pieces to the greatest museums, including the Guimet and the Metropolitan Museum of Art.Condition: Extensive wear and traces of use, several old repairs and touchups, losses, the figure reattached to its original base, overall as expected for this type of ware and commensurate with age.Weight: 1,641 gDimensions: Height 32 cmAuction result comparison: Compare a related fahua figure of a luohan, with a Wanli mark and of the period, but of larger size (46 cm high), at Christie's London in Chinese Ceramics, Works of Art and Textiles on 12 May 2017, lot 293, sold for GBP 47,500, and a related fahua-type figure of an immortal, dated 18th-19th century, of slightly smaller size (27.6 cm high), at Christie's New York in The Collection of Robert Hatfield Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings on 19 March 2015, lot 438, sold for USD 75,000. 明末清初法華鐵拐李像 中國，十六至十七世紀。鐵拐李站在雕花石台上，拄著鐵拐杖，身著束腰、敞胸露乳的大袍，頭髮捲曲，眉眼生動，長耳垂。 來源：巴黎Compagnie de la Chine et des Indes公司，庫存編號 20582，1968 年購於香港。 位於巴黎的 Compagnie de la Chine et des Indes公司於 20 世紀初由 Blazy 兄弟創立，1935 年由 Robert Rousset 收購，後來由他的外甥 Mike Winter-Rousset 和 Herve du Peuty 經營。 Robert Rousset 與他的妹妹 Suzanne 負責瓷器，並大力發展這項業務，該公司成為法國最重要的亞洲藝術品經銷商之一，向最大的博物館出售藝術品，包括吉美博物館和大都會藝術博物館。 品相：廣泛磨損和使用痕跡，幾次舊時修補，缺損，人物造像是重新連接到其原始底座，總體上符合此類造像品相預期並與年齡相符。 重量：1,641 克 尺寸：高32 厘米 拍賣結果比較：萬曆款及年代的一件法華羅漢像，但尺寸稍大 (高46 厘米), 見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 2017年5月12日 lot 293, 售價GBP 47,500; 一件法華仙人像，十八至十九世紀，尺寸稍小 (高27.6 厘米), 見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings 2015年3月19日 lot 438, 售價USD 75,000。

A SANDWICHED GLASS 'TORTOISE SHELL' SNUFF BOTTLE, 18TH-19TH CENTURYChina. Of rectangular shape, with straight neck, featuring a faceted panel on each side. The glass of vibrant yellow, black and aubergine tones in swirling patterns around the body, in imitation of tortoise shell. Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member.Condition: Very good condition with minor wear, some nibbling, mostly along the lip and rims.Stopper: Coral stopper with jade platelet, carved spoon Weight: 46 g Dimensions: Height including stopper 64 mm. Diameter neck 13 mm and mouth 6 mm. 十八至十九世紀多層仿玳瑁琉璃鼻烟壺中國。長方形摺角，直頸，多層次。仿玳瑁紋，黃色、黑色和茄紫色琉璃。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相良好，輕微磨損，有些唇部邊緣和足部邊緣磕損。壺蓋：珊瑚，玉托片，雕刻小勺 重量：46 克 尺寸：含蓋高64 毫米；頸部直徑13 毫米，及口部直徑6 毫米

A PALE CELADON AND RUSSET JADE 'PEBBLE' SNUFF BOTTLE, QING DYNASTYChina, 18th century. Smoothly polished and well hollowed, keeping the natural irregular shape of the pebble, the translucent pale celadon stone accented with a delicate patch of russet and gray as well as russet veins and icy inclusions.Provenance: French trade.Condition: Very good condition with minor wear, light surface scratches, and minuscule nibbling to the mouth. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Stopper: The coral stopper attached to a silvered metal collar in the form of stiff leaves. Carved spoon. Weight: 120 g Dimensions: Height including stopper 86 mm. Diameter mouth 5 mm. Auction result comparison: Compare a white and russet jade 'pebble' snuff bottle, dated 1750-1850, at Christie's New York in A Collecting Legacy: Fine Chinese Jade Carvings and Works of Art from the Lizzadro Collection on 21 March 2013, lot 896, sold for USD 30,000. 清代青白玉山子鼻烟壺中國，十八世紀。表面光滑，掏膛良好。保持了山子自然不規則形狀，半透明的青白玉石點綴著精緻的赤褐色和灰色以及赤褐色紋理。 來源：法國古玩收藏。 品相：狀況極好，磨損輕微，表面有輕微劃痕，唇部有輕微的磕損。天然紋理的石料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 壺蓋：珊瑚包銀，在頸部成葉子形；雕刻小勺 重量：120 克 尺寸：含壺蓋高86 毫米，唇部直徑5 毫米 拍賣結果比較：比較一件1750-1850年白玉山子鼻烟壺，見紐約佳士得A Collecting Legacy: Fine Chinese Jade Carvings and Works of Art from the Lizzadro Collection 2013年3月21日 lot 896, 售價USD 30,000。

A FINE JADEITE 'LAN CAIHE' PENDANT, LATER QING TO EARLIER REPUBLICChina, 1850-1930. The plaque of circular form, flanked by two dragon masks suspending neatly carved mock rings, below a bow-tied ribbon, finely incised in relief to one side with Lan Caihe wearing loose-fitting robes and carrying a basket in one hand and a flower borne on a leafy stem in the other, walking along swirling clouds with a joyful smile on the face, and to the other with a central Ji ('luck') character flanked by two bats and surrounded by ruyi symbols above similar swirling clouds, each enclosed by a dotted border.Provenance: From a Scottish private collection. Condition: Excellent condition with minor wear. Fine surface polish with an elegant luster.Weight: 41.3 gDimensions: Size 5.4 x 5.3 cmThe translucent jade is of a white tone with a light lavender tinge and a small patch of apple-green color at the top, where it is pierced for suspension. Further openworked areas allowing for suspension as well.Lan Caihe is one of the Eight Immortals in the Daoist pantheon and the only one of the Eight whose gender is ambiguous. Lan is not generally thought to be based on a historical person but is traditionally said to have been born sometime during the Tang dynasty, and lived as a homeless street entertainer, who wandered all over China, singing philosophical songs. Lan's emblem is a basket of flowers, and so this immortal is considered the patron of florists and gardeners.Auction result comparison: Compare a related circular plaque depicting the Hehe Erxian, dated to the 19th century, at Bonhams San Francisco in Fine Chinese Works of Art on 17 December 2013, lot 8035, sold for USD 11,250. Compare also a jade plaque depicting Lan Caihe and Li Tieguai, dated 18th-19th century, at Sotheby's Hong Kong in Important Jades, Ambers And Hardstones From A Distinguished Connoisseur on 3 October 2018, lot 3358, sold for HKD 150,000-200,000. 清末民初藍采和翡翠佩飾中國，1850-1930年。扁圓形佩飾，左右兩有瑞獸輔耳，上方雕刻著蝴蝶結緞帶；一面浮雕藍采和一手提籃，另一隻手持一枝樹枝，脚踩祥雲，面露笑容；而另一面中央兩隻蝙蝠相對，中間一個"吉"字，上方有一朵如意雲紋。 來源：蘇格蘭私人收藏。 品相：狀況極好，輕微磨損。表面光滑細膩，光澤優雅。 重量：41.3 克 尺寸：5.4 x 5.3 厘米 拍賣結果比較：比較一件十九世紀的和合二仙玉佩，見舊金山邦翰思Fine Chinese Works of Art 2013年12月17日lot 8035, 售價USD 11,250；一件十八世紀至十九世紀藍采和與鐵拐李玉佩，見香港蘇富比Important Jades, Ambers And Hardstones From A Distinguished Connoisseur 2018年10月3日 lot 3358, 售價HKD 150,000-200,000。

A SILK KESI 'PEACH FESTIVAL' PANEL, QING DYNASTYChina, 19th century. Finely woven in bright colors with a lively scene depicting the arrival of Xiwangmu, seated on a throne and surrounded by attendants, two fanning her with large peacock-feathered fans, looking toward Shoulao and further immortals greeting her from a terrace, the lower area with He Xiangu holding a lotus flower and Li Tieguai holding his crutch and double-gourd, all on a rich coral ground. Provenance: French trade.Condition: Good condition with old wear, minor tears, small losses, fading, soiling. Laid down on board and framed.Dimensions: Size 182 x 50 cmThe Peach Festival is a popular Daoist theme associated with the birthday celebration of Xiwangmu, who has the sole authority to grant Peaches of Eternal Life and bestow celebrants of the festival with great fortune. According to legend, the festival is held at the Jade Palace in the Kunlun Mountains in the Western paradise and only takes place every 3000 years. The auspicious message of this theme made the panes such as the present lot suitable for presentation at important festivities.Kesi, which means 'cut silk', derives from the visual illusion of cut threads that is created by distinct, unblended areas of color, as the weft threads are woven into each color and then cut. The earliest surviving examples of kesi tapestries date to the Tang dynasty (618-907), although the technique was already used earlier in wool and became widely used only during the Song dynasty (1127-1379). The fragment of a kesi tapestry has been recovered in a tomb of a man and his wife in Dulan, Qinghai province, who died in 633 and 688 respectively, and another also excavated in Dulan, was included in the exhibition "China, Dawn of a Golden Age" at the Metropolitan Museum of Art, New York, 2005, cat. no. 245. During the Ming dynasty (1368-1644), kesi panels enjoyed a rise in popularity and thrived under the Qing emperors.During the Qing dynasty, official weaving workshops were established both in the Palace and in the cities of Jiangning, Suzhou and Hangzhou, in order to cater to the Court's increasing demand for palace and temple furnishings, clothing and presentation silks for civil and military officials. Specialized centers of production soon developed around this area, such as the city of Wenzhou, Zhenjiang province, which became particularly famous for its luxurious kesi tapestries.Auction result comparison: Compare a closely related silk kesi panel, 160 x 89 cm, also dated to the 19th century, at Christie's New York in Important Chinese Ceramics and Works of Art on 19 March 2021, lot 847, sold for USD 56,250.清代緙絲《蟠桃會》掛幅中國，十九世紀。珊瑚紅地，色彩鮮豔，生動描繪西王母舉辦蟠桃盛會情景，四周侍從與仙人圍繞，可見到福祿壽三星以及捧著荷花的何仙姑與拄著拐杖的李鐵拐。 來源: 法國古玩市場。 品相: 狀況良好，磨損、輕微撕裂、小缺損、褪色、污漬。木板裝框。 尺寸: 182 x 50 厘米 拍賣結果比較: 比較一幅十分相近的十九世紀緙絲，160 x 89 厘米, 見紐約佳士得 Important Chinese Ceramics and Works of Art 2021年3月19日 lot 847, 售價USD 56,250。

A WHITE JADE 'DOUBLE PEACH' CARVING, QING DYNASTYChina, 18th to early 19th century. Deftly carved as two peaches issuing from a leafy branch, the gnarled wood naturalistically rendered in open work with bumpy knots and delicately furling leaves. The semi-translucent stone is of an almost pure white color with small scattered cloudy-white inclusions. Provenance: Major Harry Stanley (1910-1997), who in 1957 was recruited from the Royal Automobile Club in London to run the newly formed Hong Kong Tourist Association. Thence by descent in the same family. Condition: Very good condition with minor wear and few minuscule nicks here and there. The stone with natural fissures, some of which may have developed into minuscule hairline cracks over time.Weight: 67.3 g (without the base) Dimensions: Length 6 cmWith a carved and fitted hardwood base, possibly from the period. (2) Peach trees have a sacred connotation in China and in ancient times the wood of the peach tree was used as a charm against evil. Thus, the branch of this jade serves both as a representation of the tree, and as a naturalistic feature connecting the two peaches. The peaches themselves are symbols of longevity, and the fact of there being two of them doubles the wish. The association of peaches with longevity arises from the Star God of Longevity Shou Lao, and is linked with the legend of the peaches which grew in the orchard of Xiwangmu, the Queen Mother of the West. These peaches took three thousand years to ripen, and conveyed immortality on anyone who ate them. Items in the form of peaches were a popular birthday gift in the Ming and Qing dynasties. Small items for the scholar's table in the form of a single peach or two peaches, or indeed two lychees - another auspicious fruit - were especially popular in the 17th and 18th centuries. Auction result comparison: Compare a related 'double peach' jade carving, of larger size (14.7 cm), at Christie's New York in Fine Chinese Jade Carvings from Private Collections on 13 September 2018, lot 938, sold for USD 11,250. 清代白玉雙桃擺件中國，十八世紀初至十九世紀。巧雕雙桃，枝葉捲曲。半透明玉料幾乎是純白色的，帶有白色絮狀物。 來源：Harry Stanley (1910-1997) 收藏，1957年，他從倫敦皇家汽車俱樂部被派去管理新成立的香港旅遊協會，拍品在同一家族保存至今。 品相：狀況極好，有輕微磨損，大面積的輕微刻痕。具有天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成微小的細裂紋。重量：67.3 克 (不含底座) 尺寸：長6 厘米 可能來自同一時期的木雕底座。 (2) 拍賣結果比較：比較一件相近的玉雕雙桃，尺寸稍大 (14.7 厘米)，見紐約佳士得 Fine Chinese Jade Carvings from Private Collections 2018年9月13日 lot 938, 售價USD 11,250。

A WHITE AND BROWN JADE 'CARP' SNUFF BOTTLE, 1780-1850China. Well hollowed, of rounded rectangular form with an oval foot and short cylindrical neck, a carp leaping amidst swirling waves carved to each side. The translucent stone with a smooth, unctuous polish and of a fine white tone with distinct dark-brown clouds.Provenance: From an English private collection, by repute acquired by the late owner on 6 December 1994 from Sotheby's London, Lot 93. Thence by descent within the family. Condition: Good condition with some nibbling, a chip to the lip. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Green jade stopper on metal mounting, metal spoon Weight: 79 g Dimensions: Height including stopper 68 mm. Diameter neck 13 mm and mouth 5 mm.The carp is a popular Chinese symbol and is admired for its strength and perseverance because its jumping ability was associated with the idea of leaping through the Dragon Gate, an emblem of success in the civil service examinations leading to prestige and wealth. 1780-1850年白玉鯉魚紋鼻烟壺中國。掏膛良好，圓柱形短頸，平唇削，扁平長方削肩，橢圓形圈足。兩面分別雕刻了一條鯉魚在水中躍起。半透明的玉料，表面光滑瑩潤，細膩的白色，帶有明顯的深棕色絮狀物。 來源：來自英國私人收藏，據説購於倫敦蘇富比，1994年12月6日Lot 93，在同一家族保存至今。 品相：狀況良好，有一些小磕損，邊緣有一個刻痕。天然紋理的石料，隨著時間的推移，其中一些可能已經發展成細小的裂紋。壺蓋: 玉壺蓋，鑲金屬，金屬勺 重量：79 克 尺寸：含壺蓋高68 毫米；頸部直徑13 毫米 ，嘴部直徑5 毫米

A SMALL PALE-YELLOW JADE 'BOYS' WATER POT, LATE QING TO REPUBLICChina, 1860-1940. The small vessel neatly carved as a jar with three lively boys climbing it, while holding lingzhi sprig in their hands. The translucent stone of an even pale-yellow tone, with scattered cloudy inclusions, superbly polished.Provenance: US trade, by repute from a private collection in Philadelphia, USA.Condition: Excellent condition with minor wear, one minuscule chip to the rim. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.9 gDimensions: Length 8.7 cmAuction result comparison: Compare a related jade water coupe, dated to the 19th century, of slightly smaller size (8.2 cm), at Bonhams Los Angeles in Fine Chinese and Japanese Works of Art Part I on 14 December 2020, lot 59, sold for USD 9,562.清末民初青黃玉童子抱缸水盂中國，1860-1940年。三個童子手持如意抱缸，前額頭寬闊飽滿，後腦部渾圓，臉部五官雕琢十分細緻、寫實，線條流暢，立體感強。半透明玉料，呈均勻的淡黃色調，内含絮狀物，表面光滑。 來源：美國私人收藏，據説購於費城私人收藏。 品相：狀況極佳，輕微磨損，邊沿上有一小塊碎屑。天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成細小的細縫。 重量：127.9 克 尺寸：長8.7 厘米 拍賣結果比較: 比較一件相近的十九世紀玉雕水盂 (8.2厘米)，見洛杉磯邦翰思Fine Chinese and Japanese Works of Art Part I 2020年12月14日 lot 59, 售價USD 9,562。

A SUZHOU SCHOOL BLACK AND WHITE JADE SNUFF BOTTLE, QING DYNASTYChina, 19th century. Of flattened ovoid form with a concave foot. Extremely well-hollowed through a small mouth, the semi-translucent nephrite of a deep black tone with distinct white and gray shadings to one side, all skillfully utilized by the lapidary to create a distinct relief carving of a swallow above a blooming lotus flower and neatly incised waves. The other side depicting a frog perched on a lotus leaf amid craggy layered rocks, the hallmark of the school.Provenance: Property from an institutional collection, Illinois, USA.Condition: Excellent condition with minor old wear, minute nibbling to foot and neck.Stopper: Glass cabochon carved as a coiled chilong in imitation of coral, stained dark green platelet of dark organic material, with a finely carved spoonWeight: 73 gDimensions: Height including stopper 62 mm. Diameter neck 12 mm and mouth 5 mmAuction result comparison: Compare a related Suzhou black and gray jade snuff bottle, dated to the Qing dynasty, of slightly smaller size (5.7 cm high), at Sotheby's Hong Kong in Snuff Bottles from the Mary and George Bloch Collection: Part VI on 26 May 2013, lot 204, sold for HKD 437,000. Compare a related pair of Suzhou carved black and gray jade snuff bottles, dated 1760 to 1850, of slightly larger size (7.8 cm high), at Christie's New York in The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part III on 14 September 2016, lot 462, sold for USD 35,000. 清代蘇作黑白玉"青蛙蓮池"鼻烟壺中國，十九世紀。黑白玉質，溫潤光潔，細膩柔滑。直口，豐肩，斜腹下收，平底。一面巧雕荷葉上的青蛙，這是蘇作的標誌。另一面巧雕花上飛燕。 來源：美國伊利諾伊斯州機構收藏。 品相：狀況極佳，輕微的舊時磨損，足部和頸部有細微的磕損。壺蓋: 銅托螭龍紋紅珊瑚狀玻璃蓋，精細雕刻的勺子，深綠色有機材料蓋托。 重量：73 克 尺寸：總高 62 毫米，頸部直徑12 毫米，唇 5 毫米 拍賣結果比較: 比較一件相近的清代蘇作灰玉鼻烟壺，高5.7 厘米，見香港蘇富比Snuff Bottles from the Mary and George Bloch Collection: Part VI 2013年5月26日lot 204, 售價HKD 437,000；比較一對相近的黑灰玉雕鼻烟壺，1760-1850年，高7.8 厘米，見紐約佳士得The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part III 2016年9月14日 lot 462, 售價USD 35,000。

A WHITE AND RUSSET JADE 'CHILONG' SEAL, QING DYNASTYChina, 18th-19th century. Of irregular rounded form, the knob carved in openwork with a chilong crouching on its muscular limbs with raised back, the tail curling under the body, the seal incised with swirling clouds below the chilong, the seal face left plain. The translucent stone of an even white tone accented with russet skin as well as darker russet veins and shadings.Provenance: Adrian M. Joseph, c. 2003. British private collection, acquired from the above. Adrian Malcolm Joseph started studying and collecting Chinese ceramics during the late 1950s. He published various important papers and books including Ming Porcelains: Their Origins and Development (1971) and Chinese and Annamese Ceramics found in the Philippines and Indonesia (1973). He and his wife Phyllis began collecting Japanese art in the late 1960s, initially acquiring ceramics from important dealers such as Shimojo in Tokyo. Joseph became a Director of Hugh Moss Ltd. in the 1970s.Condition: Very good condition with minor wear and few small nicks, the stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 28.7 gDimensions: Height 3.3 cmAuction result comparison: Compare a related white and russet jade seal with a chilong, dated to the 19th century, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 7 April 2013, lot 3214, sold for HKD 437,500. 清代白玉螭龍鈕印中國，十八至十九世紀。不規則圓形，鏤空雕刻螭龍鈕，身材矯健，翹背，尾巴捲曲在身下；螭龍下方刻有旋雲，印面平整。半透明的玉料，呈均勻的白色色調，局部赤褐色皮以及紋理。 來源: Adrian M. Joseph, 約2003年；英國私人收藏，購於上述收藏；Adrian Malcolm Joseph 在 1950 年代後期開始研究和收集中國陶瓷。他發表了多篇重要論文和著作，包括《Ming Porcelains: Their Origins and Development》（1971）和《Chinese and Annamese Ceramics found in the Philippines and Indonesia》（1973）。他和他的妻子Phyllis在 1960 年代後期開始收集日本藝術品，最初是從東京的 Shimojo 等重要經銷商處購買陶瓷。 Joseph 在 1970 年代成為 Hugh Moss Ltd. 的董事。品相: 狀況良好，少量磨損與刻痕，有天然裂痕的玉料，隨著時間的推移，有些裂痕已經發展成細小的裂縫。 重量: 28.7 克 尺寸: 高3.3 厘米 拍賣結果比較: 比較一件相近的十九世紀螭龍白玉印，見香港蘇富比Fine Chinese Ceramics and Works of Art 2013年4月7日 lot 3214, 售價HKD 437,500。

A DEEP CELADON AND RUSSET JADE 'PEACH AND BAT' GROUP, EARLY QING DYNASTYChina, 18th century. Carved from a heavy, single pebble as a giant peach borne on an openworked gnarled leafy stem and surmounted by a bat. The partly translucent stone is of a deep celadon tone with distinct russet veins and cloudy white inclusions.Provenance: From a French private collection. Condition: Excellent condition with minor wear and few microscopic nicks. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 718.2 gDimensions: Length 10.5 cmAuction result comparison: Compare a closely related celadon jade 'peach and bats' group, dated to the Qianlong period, of slightly larger size (12.7 cm wide), at Christie's London in Fine Chinese Ceramics and Works of Art on 9 November 2010, lot 165, sold for GBP 46,850. 清初青玉留皮雕福壽擺件 中國，十八世紀。由一顆玉料隨形雕刻而成，就像一個巨大的桃子，鏤空雕刻枝葉。桃子上趴著一隻蝙蝠。 局部半透明的玉料呈深青色，帶有明顯的赤褐色脈絡和白色絮狀物。 來源：法國私人收藏 品相：狀況極好，輕微磨損，極其細微的刻痕。 帶有天然脈理的玉料，隨著時間的推移，其中一些可能會發展成細小的裂縫。 重量：718.2 克 尺寸：長10.5 厘米 拍賣結果比較：一件相近的乾隆時期的青玉福壽擺件，尺寸稍大 (寬12.7 厘米) ，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2010年11月 9日 lot 165, 售價GBP 46,850。

A CAMEO AGATE 'BOY AND LOTUS' SNUFF BOTTLE, 1750-1850China. Well hollowed, of rounded rectangular shape rising from an oval foot with a recessed base, to a short cylindrical neck, carved to one side utilizing the darker markings to depict a boy on a rock pointing at a lotus leaf. The translucent stone of beige tone with dark brown patches. Provenance: From the estate of a surgeon in Washington, DC, USA, by repute acquired at auction prior to 1990. Condition: Excellent condition, with a few nibbles to the mouth, lip, and rim. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Glass stopper imitating jade on metal mounting, carved spoon Weight: 72 g Dimensions: Height including stopper 63 mm. Diameter neck 20 mm and mouth 7 mm. The combination of a boy (zi) and a lotus (lian) forms the rebus 'lian sheng gui zi (连生贵子)' meaning 'may you continuously give birth to distinguished sons'.Auction result comparison: Compare a related silhouette agate 'boy and lotus' snuff bottle, dated 1740-1850, at Christie's New York in Fine Chinese Ceramics and Works of Art on 21 March 2014, lot 2470, sold for USD 7,500. 1750-1850年焦糖瑪瑙巧雕"童子戲荷"鼻烟壺中國。掏膛良好，寬肩微削，橢圓形圈足，圓柱形頸，一面巧妙利用焦糖色雕刻童子站在石上手指荷葉。半透明石頭，帶有焦糖色斑塊。來源：美國華盛頓一位外科醫生的收藏，據説1990年前購於一個拍賣行。 品相：品相極佳，嘴部和唇邊緣有小磕損。有天然紋理的石料，隨著時間的推移，其中一些可能已經發展成細小的細縫。 壺蓋: 玻璃壺蓋，仿玉金屬，金屬托片，雕刻的小勺 重量：72 克 尺寸：含壺蓋高63 毫米. 頸部直徑20 毫米 ，嘴部直徑7 毫米. 拍賣結果比較：比較一件相近瑪瑙巧雕"童子戲荷"，1740-1850年，見紐約佳士得Fine Chinese Ceramics and Works of Art 2014年3月21日lot 2470, 售價USD 7,500。

A WHITE JADE FIGURE OF GUANYIN, LATE QING TO REPUBLICChina, 19th to earlier 20th century. The standing deity is carved in high relief dressed in a dhoti and a celestial scarf billowing in the wind, the hair pulled into a high chignon, holding an open jar. She stands on a lotus base before a flaming mandorla. The stone is of a pale celadon tone with icy inclusions. Provenance: US trade, by repute from a private collection in Chicago, USA.Condition: Very good condition with minor wear, few minuscule nicks and nibbles, shallow surface scratches.Weight: 81 gDimensions: Height 13.4 cm Auction result comparison: Compare a related white jade Guanyin, dated to the Qing dynasty, of slightly smaller size (12.3 cm high), at Sotheby's Hong Kong in Chinese Art on 3 December 2015, lot 567, sold for HKD 68,750 (part lot).清末民初白玉觀音中國，十九至二十世紀初。觀音立像，身著長袍，綬帶隨風飄揚，頭髮挽成高髮髻，端著一個寶瓶，身後有火焰光背。玉料呈淡青色，帶有絮狀物。冰冷的內含物。 來源：美國古玩市場，據説購於美國芝加哥私人收藏。 品相：狀況極好，輕微磨損，少量細小的刻痕和小缺口，表面有淺劃痕。 重量：81 克 尺寸：高13.4 厘米 拍賣結果比較: 比較一件相近的清代白玉觀音 (高12.3 厘米), 見香港蘇富比Chinese Art 2015年12月3日lot 567, 售價HKD 68,750 (此號拍品中)。

A BLACK AND WHITE JADE 'ARCHAISTIC' AXE-FORM OPENWORK PENDANT, 18TH CENTURYChina. Finely carved in the form of an axe-form bell detailed with a band of archaistic dragons below neatly incised ruyi heads forming a beast head, all surmounted by a bi disk and a pair of confronting chilong. The translucent stone of an attractive white tone with veins and patches of black.Provenance: From a notable English private collector of Chinese jades. Condition: Excellent condition with minor wear, microscopic nibbling, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 85.2 gDimensions: Height 12.2 cmWith a fitted silk box. (2)Auction result comparison: Compare with a related white jade pendant, also in the form of an axe-form bell, of considerably smaller size and dated to the 18th/19th century, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2013, lot 3329, sold for HKD 225,000.十八世紀仿古黑白玉鏤空雕斧式佩中國。鏤空雕刻斧形玉佩，龍紋與如意紋，斧頂一個玉璧和一對面對面的螭龍。 半透明的玉石，具有迷人的白色間帶有黑色的紋理和斑點。 來源：英國知名中國玉器私人收藏 品相：狀況極佳，有輕微磨損，細微的磕損，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：85.2 克 尺寸：高12.2 厘米 拍賣結果比較：一件相近鐘形白玉佩，尺寸稍小，十八至十九世紀，見香港蘇富比 Fine Chinese Ceramics and Works of Art拍場2013年10月8日 lot 3329, 售價HKD 225,000。

A CONG-FORM ALTERED JADE BEAD, LIANGZHU CULTUREChina, circa 3300-2200 BC. The tubular bead is carved in the form of a two-tiered miniature cong. Both registers are carved and neatly incised with a stylized mask. The opaque stone is covered extensively with white alteration.Provenance: From a private estate in New York City, USA. Condition: Good condition with ancient wear, a small chip on the top and bottom edge possibly smoothened, small nicks here and there. The stone with calcifications, weathering, and natural fissures, some of which have developed into small hairline cracks over time. Fine, naturally grown patina.Weight: 38 gDimensions: Length 4.5 cmMany beads of all sizes have been found in Liangzhu tombs, and a large number of them are decorated with faces, often arranged on two tiers.Literature comparison: Compare a related cylindrical-form jade bead, also dated to 3300-2250 BC, of slightly smaller size (2.9 cm), at J.J. Lally & Co. Oriental Art exhibition, New York, in Ancient Chinese Jade: From the Neolithic to the Han from 10 March to 2 April 2016, No. 11.Auction result comparison: Compare a closely related Liangzhu cong-form jade bead, of smaller size and near-identical design and with similar white alteration, at Christie's Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I - The Neolithic Period on 27 November 2019, lot 2723, sold for HKD 525,000. 良渚文化琮形玉珠中國，公元前約3300-2200 年。琮的每兩個平面的夾角線作為一個軸心，分別對稱刻畫獸面的鼻、口，兩側的平面上分別雕出兩隻眼睛。不透明的石頭覆蓋著大面積的白色鈣化。來源：美國紐約私人收藏。 品相：狀況良好，磨損，頂部和底部邊緣的小刻痕可能已磨平，到處都有小刻痕。具有鈣化、風化和天然裂縫的石料，隨著時間的推移，其中一些已經發展成細小的細裂縫。自然細膩的包漿。 重量：38 克 尺寸：長4.5 厘米 拍賣結果比較：比較一件相近的良渚文化琮形玉珠，尺寸稍小，幾乎一模一樣的紋飾，相似的白色鈣化，見香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I - The Neolithic Period 2019年11月27日 lot 2723, 售價HKD 525,000。

A PALE CELADON JADE SNUFF BOTTLE CARVED WITH A POEM, MID-QINGChina, 18th to early 19th century. Well-polished and hollowed, keeping the natural shape of the pebble, one end polished to create a flat foot, the opaque celadon stone with russet inclusions and veins. One side carved with a scholar holding a staff attended by a small boy, all beneath a pine tree.Inscription: The reverse with a poem in relief 'Somewhere in the mountain you were for certain, uncertain was where among the deep cloud cover you were'. Provenance: From a UK private collection, Hertfordshire, by repute acquired from Robert Kleiner & Co. Ltd around the year 2000, and thence by descent in the same family. Robert Kleiner (1948-2014) was an important expert on and dealer of Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Condition: Very good condition with minor wear, microscopic nibbling to mouth, the stone with natural fissures. Stopper: Coral imitation with platelet and old spoon Weight: 85.3 g Dimensions: Height including stopper 68 mm. Diameter mouth 5 mm. Auction result comparison: Compare a related pebble snuff bottle of similar form and size, also with a carved poem, at Christie's New York in Fine Chinese Ceramics and Works of Art on 20 September 2005, lot 481, sold for USD 12,000. 明代中期青白玉《尋隱者不遇》鼻烟壺中國，十八至十九世紀初。掏膛良好，保留了天然的山子形狀，巧妙利用不透明的青白色夾雜赤褐色絮狀物和紋理，雕刻松下詩僧賈島上山尋訪隱者，巧遇其童子，詢問其蹤影的場景。另一面雕刻《尋隱者不遇》的詩句。款識：師問：只在此山中，雲深不知處。天局 來源: 英國赫爾福特郡私人收藏，據説在2000年前後購於Robert Kleiner & Co. Ltd., 在同一家族保存至今。Robert Kleiner是一位重要的中國鼻煙壺專家和經銷商，起初，他在倫敦蘇富比中國藝術部工作，與 Hugh Moss 和 Bob Hall 一起，Robert Kleiner 成為 Mary 和 George Bloch 收藏的重要顧問，他編寫並製作了他們的第一個鼻烟壺目錄。 品相: 狀況良好，輕微磨損，壺嘴有輕微磕損，石料有天然裂痕。 壺蓋: 仿珊瑚，托片，舊時小勺 重量: 85.3 克 尺寸: 含蓋高 68 毫米，唇部直徑5 毫米 拍賣結果比較: 比較一件相近的詩文山子鼻烟壺，相似尺寸和形狀，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2005年9月20日, lot 481, 售價USD 12,000。

A CELADON AND RUSSET JADE BOULDER, QING DYNASTYChina, 1644-1912. Deeply carved to depict Shoulao with his attendant and a deer in a mountainous landscape, standing below a towering, gnarled pine tree, a pavilion in the distance. The reverse with further rockwork. The translucent stone is of a fine celadon tone with distinct russet inclusions.Provenance: US trade, by repute from a private collection in Chicago, USA.Condition: Good condition with some old wear and few small nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 805 gDimensions: Height 12.8 cm The theme of longevity is clearly evident on the present boulder, with the depiction of Shoulao and the deer under a pine tree. The elongated form of the boulder and the layering of rockwork help to create a magical atmosphere, thereby contributing to the Daoist themes of mysticism and immortality.Auction result comparison: Compare a related jade boulder depicting Shoulao, dated to the 18th to 19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1751, sold for USD 10,000. 清代青玉留皮山子雕壽老中國，1644-1912年。深雕描繪壽老與其侍者及仙鹿立於一棵參天松樹下，遠處是一座樓閣。另一面，山石綿延。半透明的玉料呈現精美的青色調，帶有明顯的赤褐色內沁。 來源：美國古玩市場，據説購於美國芝加哥私人收藏。 品相：狀況良好，局部磨損和一些小刻痕，有天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 重量：805 克 尺寸：高12.8 厘米 拍賣結果比較: 比較一件相近的十八至十九世紀山子壽老，見紐約佳士得Fine Chinese Ceramics and Works of Art 2013年9月20日 lot 1751, 售價USD 10,000。

A CELADON JADE PENDANT, WESTERN ZHOU DYNASTYChina, 1100 to 771 BC. The flattened plaque is finely carved with a bird below a coiled dragon and an elephant's head merged with the dragon's tail. Both sides are neatly enhanced with double-line grooves and various geometric designs. The translucent stone is of a pale celadon tone with distinct shades of beige-brown and white alteration along one side.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884.Condition: The stone with minor nicks, losses, light surface scratches, natural fissures, some of which have developed into small hairline cracks over time. One small aperture drilled to upper end, below a smoothened loss, is a later addition. It is obvious that a segment at the top of the plaque is missing; although one can only speculate about the carving, considering comparable jades such as the one mentioned in the Auction result comparison below, it is reasonable to think it was a depiction of a human head.Expert's note: Note that in the 19th and earlier 20th century, when the previous owner David Taylor was frequently travelling to China, it was common that pieces with damage or losses such as the present lot were subject to improvised 'repair measures' to make them suitable for sale to Western visitors. The present jade was most likely a dragon-human form pendant, a rare and important type from the Western Zhou dynasty, which was however incomplete and thus sold off. Weight: 70.4 gDimensions: Length 10.9 cm, Width 4.3 cmAuction result comparison: Compare a related jade dragon-human form pendant, also dated to the Western Zhou dynasty, of smaller size (8.7 cm), at Christie's Hong Kong in Chinese Archaic Jades From The Yangdetang Collection PART II on 28 November 2018, lot 2743, sold for HKD 187,500. 西周青玉掛件 中國，公元前1100至771 年。扁平狀平雕，龍下有鳥與龍尾融為一體，采用雙鈎陰線方式，運用不同紋飾。半透明玉料呈淺青色，一側有明顯的米褐色和白色内沁。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相：玉料上有輕微的刻痕、缺損、劃痕、天然裂紋，隨著時間的推移，其中一些已經發展成細小的細裂紋。 一個鉆孔，應是後來添加的。很明顯，斑塊頂部的有一段缺失；雖然只能推測，考慮到類似的玉石，例如拍賣結果比較中提到的，有理由認為它雕刻了一個人頭。 重量：70.4 克 尺寸：長10.9 厘米, 寬4.3 厘米 拍賣結果比較：比較一件相近的西周人龍合體玉件，尺寸稍小 (8.7 厘米)，見香港佳士得Chinese Archaic Jades From The Yangdetang Collection PART II 2018年11月28日, lot 2743, 售價HKD 187,500。

A PALE CELADON AND RUSSET JADE 'CARP' SNUFF BOTTLE, 19TH CENTURYChina. Well hollowed, naturalistically carved and incised in the form of a large carp with bulging eyes, its mouth forming the opening of the bottle. The stone of pale celadon color with small russet inclusions.Provenance: From a private collection in Chicago, Illinois, USA. Condition: Very good condition with light surface scratches and minor nibbling to the lip. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Coral stopper on silver mounting, carved spoon Weight: 85 g Dimensions: Height including stopper 98 mm. Diameter mouth 7 mm.Auction result comparison: Compare a related white jade 'goldfish' snuff bottle, dated to the early 18th-19th century, at Sotheby's Hong Kong in Snuff Bottles From The Mary And George Bloch Collection: Part VI on 26 May 2013, lot 101, sold for HKD 175,000. Compare also a carved white jade fish form snuff bottle, at Christie's New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1624, sold for USD 10,000.十九世紀青白玉雕鯉魚鼻烟壺中國。掏膛良好，隨形雕刻成大鯉魚的形狀，眼睛凸出，嘴巴處包銀成鼻烟壺口。青白色玉料，有少量赤褐色皮。 來源：美國伊利諾斯州芝加哥私人收藏。 品相：狀況極好，表面有輕微劃痕，唇部有輕微磕損。有天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 壺蓋：珊瑚壺蓋，包銀，雕刻的小勺 重量：85 克 尺寸：含壺蓋高98 毫米，嘴部直徑7 毫米. 拍賣結果比較：比較一件相近白玉金魚鼻烟壺，十八世紀初至十九世紀，見香港蘇富比Snuff Bottles From The Mary And George Bloch Collection: Part VI 2013年5月26日 lot 101, 售價HKD 175,000；比較一件白玉雕魚形鼻烟壺，見紐約佳士得Fine Chinese Ceramics and Works of Art 2013年9月20日 lot 1624, 售價USD 10,000。

A CHICKEN BONE JADE 'CHILONG' BELT HOOK AND BUCKLE, MING DYNASTYChina, 16th-17th century. Each of rectangular form and carved in openwork with coiled chilong, the hook terminating in a dragon head which fits perfectly into the semicircular loop on the buckle. The semi-translucent stone is of a distinct cream tone with dark veins and cloudy inclusions.Provenance: David Baker, London, United Kingdom. Established in 1978, David Baker Oriental Art is known for early ceramics, jades and works of art from China, Japan, and Korea. Baker was also instrumental in the founding of Asian Art in London in 1998.Condition: Very good condition with minor old wear and some nibbling to edges. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Good, naturally grown patina with a smooth feeling overall.Weight: 31.0 g (the buckle) and 36.6 g (the hook)Dimensions: Length 4.7 cm (the buckle), 5 cm (the hook), and 8.5 cm (when attached together)Auction result comparison: Compare a related white and russet jade belt hook and buckle, of similar form and also carved with a chilong and dragon-head hook, dated to the 17th century, at Sotheby's Hong Kong in The Muwen Tang Collection Of Chinese Jades on 30 November 2016, lot 45, sold for HKD 56,250 (part-lot, together with a smaller jade ornament). 明代雞骨玉螭龍紋帶扣一對中國，十六至十七世紀。方形帶扣用整塊玉套雕而成，分子扣和母扣，正面鏤雕兩隻盤螭，方形玉扣上浮雕一龍首，將兩扣相連，開合自如。半透明的玉料具有獨特的奶油色調，帶有深色的紋理和絮狀物。 來源：倫敦David Baker收藏，創建於 1978。David Baker 東方藝術收藏中以中國、日本和韓國的早期陶瓷、玉器和藝術品而聞名。 Baker還在1998 年創立的倫敦亞洲藝術中心發揮了重要作用。品相：狀況極好，有輕微的磨損，邊緣有一些輕微的磨損。 具有天然裂紋的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。包漿細膩，整體感覺光滑。 重量：帶扣31.0 克，帶鈎36.6 克 尺寸：帶扣長4.7 厘米，帶鈎5 厘米，合在一起為 8.5 厘米 拍賣結果比較：比較一件相近的十七世紀白玉螭龍紋帶扣，見香港蘇富比The Muwen Tang Collection Of Chinese Jades 2016年11月30日 lot 45, 售價HKD 56,250。

A CELADON AND RUSSET JADE BUDDHIST LION, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century or earlier. The recumbent beast with its head turned to one side, holding a lotus stem with two blossoms in its mouth, its characteristic ears flicked back, the bulging eyes above a ruyi-shaped snout. The mane, backbone, and tail are detailed with fine incisions. The stone of deep celadon color with distinct russet inclusions. Two pierced holes for usage as a pendant.Provenance: Rare Art, Inc., New York, USA, 4 April 1978. A private collection in Philadelphia, USA, acquired from the above. A copy of the original invoice, dated 4 April 1978 and describing the piece as a 'Celadon jade Foo dog with lotus carving in relief, brown areas, XVIV [sic] Century', accompanies this lot.Condition: Very good condition with minor wear and few minuscule nicks. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 119.1 gDimensions: Length 6 cm, Height 3.7 cm Auction result comparison: Compare a related celadon and russet jade figure of a beast, dated to the 17th century, of slightly larger size (8.5 cm), at Christie's London in Fine Chinese Ceramics & Works of Art on 7 November 2017, lot 26, sold for GBP 13,750.明末清初青玉太獅口啣蓮花擺件中國，十七至十八世紀或更早。狻猊部分受沁為紅棕色，玉質老舊。狻猊狀貌似獅，身軀飽滿，口中啣著蓮花，尾巴上翹。頭部雕刻精細，朝天。整體活潑但姿態優雅。兩孔可穿繩作爲掛件。 來源：紐約Rare Art, Inc.藝廊，1978年4月4日；美國費城私人收藏，購於上述藝廊。隨附一份原始購買發票的複印件，上面依然可見當時的描述 "Celadon jade Foo dog with lotus carving in relief, brown areas, XVIV [sic] Century"。 品相：狀況極好，少量磨損與細小的刻痕。天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成細小的細裂縫。 重量：119.1 克 尺寸：長6 厘米, 高3.7 厘米 拍賣結果比較: 比較一件相近的十七世紀青玉雕瑞獸，尺寸稍大 (8.5 厘米)，見倫敦佳士得Fine Chinese Ceramics & Works of Art 2017年11月 7日 lot 26, 售價GBP 13,750。

AN INTERLOCKING CELADON JADE LOTUS PENDANT, QING DYNASTYChina, 19th century. Finely carved in openwork from a single piece of jade with interlocking and movable concentric rings, centered by a flowerhead pierced for suspension, the outer ring carved and neatly incised to form the petals. The translucent stone is of a celadon tone with cloudy white inclusions. Provenance: From a noted Hungarian private collection. Condition: Very good condition with minor wear and few minuscule nicks here and there. The stone with natural fissures, some of which may have developed into minuscule hairline cracks over time.Weight: 60.7 g Dimensions: Diameter 6 cm Auction result comparison: Compare a closely related movable jade carving at Christie's London in Chinese Ceramics, Works of Art and Textiles on 18 May 2012, lot 1304, sold for GBP 15,000 (part lot). 清代青玉雕荷花佩飾中國，十九世紀。一塊玉雕，環環相扣，同心環可動，中心有花蕊部分可穿懸掛，花瓣雕刻清新靈動。半透明的玉料呈青色，帶有白色絮狀物。來源：匈牙利知名私人收藏。 品相：狀況極好，有輕微磨損，大面積微小的刻痕。 具有天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成微小的細裂紋。 重量：60.7 克 尺寸：直徑 6 厘米 拍賣結果比較：比較一件十分相近的玉雕，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 2012年5月18日 lot 1304, 售價GBP 15,000 (拍品的一部分)。

A SUZHOU SCHOOL 'AUTUMN WIND' BLACK AND WHITE JADE SNUFF BOTTLE, 18TH CENTURYChina. Well hollowed, the ovoid body rising from an oval base to a broad cylindrical neck. Finely carved, skillfully utilizing the white inclusions of the stone to depict a scene with a monkey perched on a pine tree looking down on an equestrian and his horse, the reverse incised with a poetic inscription describing the autumn wind.Inscriptions: Left to the poetic text '8th day of the year of Yiwei' (either 1735 or 1775).Provenance: US trade. By repute from a noted private estate. Condition: Very good condition, with minor old wear, and little nibbling to the lip. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Coral with silvered metal collar, metal spoon Weight: 250 g Dimensions: Height including stopper 84 mm. Diameter neck 26 mm and mouth 6 mm.Monkeys and horses are popular motifs in Chinese art, shown together they often symbolize the wish for immediate success or a quick promotion.Auction result comparison: Compare a closely related Suzhou black and white jade snuff bottle, also with an incised poem to the backside, dated 18th-19th century, at Christie's Hong Kong, in The Imperial Sale, Important Chinese Ceramics and Works of Art, on 28 May 2014, lot 3620, sold for HKD 350,000.十八世紀蘇造黑白玉巧雕詩文及"馬上封侯"鼻烟壺中國。掏膛良好，扁平荷包形，圓柱形直頸。精雕細琢，巧妙地利用玉石的天然紋理，一面雕刻了一人牽著馬，一隻猴子棲息在松樹上；背面刻有描述秋風的詩文。 款識：詩文面可見"乙未年八日"(1735 年或1775年) 來源：美國古玩收藏，據説購於知名私人收藏。 品相：品相極好，有輕微磨損，唇部輕微磕損。天然紋理，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 壺蓋：珊瑚包金屬，金屬小勺 重量：250 克 尺寸：含壺蓋高84 毫米；頸部直徑26 毫米，唇部直徑6 毫米 拍賣結果比較：比較一件十八至十九世紀相近的蘇州黑白玉鼻烟壺，背面同樣可見詩文，見香港佳士得The Imperial Sale, Important Chinese Ceramics and Works of Art 2014年5月28日 lot 3620, 售價HKD 350,000。

A CARVED CYLINDRICAL JADE BEAD, LIANGZHU CULTUREChina, circa 3300-2200 BC. The tubular bead is carved in form of a cylinder with two finely incised masks, each with slightly raised features, including round eyes incised within ovals joined by a wide bridge above a short bar-shaped mouth, a channel drilled from both ends. The opaque stone is covered extensively with white alteration, lustrous and ivory-white in color, with ochre suffusions.Provenance: From a private estate in New York City, USA.Condition: Good condition with ancient wear, one small chip on the top and at the bottom edge possibly smoothened, small nicks here and there. The stone with calcifications, weathering, and natural fissures, some of which have developed into small hairline cracks over time. Fine, naturally grown patina.Weight: 22.4 gDimensions: Length 3.2 cmMany beads of all sizes have been found in Liangzhu tombs, and a large number of them are decorated with faces, often arranged on two tiers.Literature comparison: Two closely related beads in the National Palace Museum, Taipei, are illustrated in Neolithic Jades in the Collection of the National Palace Museum, Taipei, 1992, pls 26, 27. Two in the Simon Kwan collection were included in the exhibition Chinese Archaic Jades from the Kwan Collection, Art Gallery, The Chinese University of Hong Kong, 1994, cat. no 47. A pair is in the British Museum, London, illustrated in Jessica Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl. 5:11. Also compare a related Liangzhu cong-form jade bead, dated to 3300-2250 BC, at J. J. Lally & Co., New York, in Ancient Chinese Jade, March 2018, No. 45.Auction result comparison: Compare a related Liangzhu cylindrical-form jade bead, at Sotheby's Hong Kong in Jade: The Zhirouzhai Collection on 7 October 2008, lot 2377, sold for HKD 68,750. 良渚文化獸面紋玉珠中國，公元前約3300-2200 年。管狀珠子成圓柱形，獸面紋，圓形大眼睛，嘴部浮雕。不透明的玉料覆蓋著白色的鈣化，有光澤和象牙白色，並帶有赭色。來源：美國紐約私人收藏。 品相：狀況良好，磨損，頂部和底部邊緣有一個小刻痕，多處小刻痕。 鈣化、風化和天然裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。包漿自然細膩。重量：22.4 克 尺寸：長3.2 厘米 拍賣結果比較：比較一件相近的良渚文化圓柱形玉珠，見香港蘇富比Jade: The Zhirouzhai Collection 2008年10月7日 lot 2377, 售價HKD 68,750。

A jadeite bracelet composed of collet-set cabochon jadeite links and rectangular links with Chinese character detail, Chinese marks(Length: 17.5cm)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

A collection of jade jewellery including a necklace composed of five pierced and carved oval jade panels, to a belcher link chain, unmarked; a rectangular carved jade panel brooch, unmarked; and a pair of polished cabochon jade earrings, screw fittings, unmarked(Length of necklace: 41cm)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

A Victorian articulated bracelet composed of articulated links, unmarked(Length: 19cm)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

Three diamond rings including a two-stone old round-cut diamond ring, stamped 18; and two single-stone old round-cut diamond rings, unmarked(Ring size: P/Q, Q & L/M)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

A 1930s jade and diamond ring collet-set with a cabochon jadeite, each shoulder set with six old round-cut diamonds, unmarked; together with the original pencil and water-colour design(Ring size: S)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

An early 20th-Century jadeite and diamond ring collet-set with a cabochon jadeite, each shoulder set with eight-cut diamonds, stamped PLAT(Ring size: R)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

An early 20th-Century jadeite, diamond and ruby brooch millegrain-set with a cushion-cut ruby and two old round-cut diamonds, in a quatrefoil polished jadeite border, unmarked(Width: 2.1cm)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

An early 20th-Century jadeite, ruby and diamond brooch claw-set with a pierced and carved jadeite panel, above a cushion and rose-cut diamond stem, set with two cushion-cut rubies, engraved detail, unmarked(Length: 7.3cm)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

An early 20th-Century sapphire, rose quartz and pearl necklace the chain of filigree detail, collet-set at intervals with round-cut sapphires and pearls, suspending a millegrain-set cushion-cut sapphire and a polished rose quartz drop(Length of necklace: 44cm)Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

A collection of jewellery including two lady's wristwatches, a Victorian paste set monkey brooch; a Georgian enamelled whistle charm, various bar brooches, pendants, beaded necklaces etc.Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

An ancient Egyptian Faience Scarab Egypt, New Kingdom, 1550 - 1077 B.C., cast faience, in the form of a scarab beetle, the underside stamped with a cobra (uraeus), reed and hieroglyph of Osiris; also included is an ancient Egyptian-style scarab bearing a cartouche of Rameses II and a pair of Roman-style intaglio(Scarab: 1.3cm x 0.8cm)Note: Please note that this collection is accompanied by a handwritten card by Dr. Walter Cockle, indicating that the New Kingdom scarab was shown to Dr. Geoffrey Martin, reader in Egyptology at the British Museum - who confirmed it to be genuine and of age.Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

A collection of costume jewellery including various faux and cultured pearl necklaces, silver and costume jewellery necklaces; various brooches, earrings, beaded necklaces, watches etc.Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.

A Chinese carved jade Pi disc with rat and dragon decoration, 2" high

A Chinese floral carved green jade and white metal mounted brooch and a similar braceletCondition:Brooch: A small split to right side of jade front, possible restoration to mount on edges. Stamped 18ct & Plat. Brooch size is 4.5cm wide x 1.5 cm high, 10g gross.Bracelet: Catch on bracelet is slightly bent, no other visible issues. 19cm long without chain, 25.5cm long with chain. Weight is 12.9g gross, no stamps to indicate metal. thought to be 18ct & Plat but no guarantee.

Two Chinese carved jade scent bottles of foliate design, 5 cm x 4.2 cm and 4.2 cm x 4.7 cm, together with a collection of twelve various Oriental snuff/scent bottles in hardstone, lacquer, pottery, white metal etc

A green leather jewellery box containing various costume jewellery to include a jade beaded necklace with carved stylised Chinese motif, Pilgrim dress ring, other various beaded necklaces etc and a modern silver mounted photo frame 22 cm x 17 cm

A pair of Chinese carved jade /hardstone figures of liondogs, H. 7cm.

A Chinese carved jade/hardstone archaic form goat head ritual mask, W. 14cm.

A 9ct gold pendant set with jade and Chinese character on 9ct gold chain, 2.3g 

Chinese pair of 14k gold earrings set with pear shaped jade drops and cabochon

Chinese 14k gold ring set with jade cabochon and pearls, 3.2g, size N